Living Presence Response: A Description of the Ineffable?

 

This post was written before and subsequently posted after the previous one. This explains any anachronisms that appear in the text.

In my previous-but-one post, I started by describing how the reconstruction of a narrative by its very nature is at best an approximate endeavour. The description of a past reality in and of itself is in all probability a chimera made of many parts pieced together as best as one can with the sensory and intellectual tools at one’s disposal. This is the main thrust of Donald Hoffman’s thesis that proposes the impossibility to see the world as it really is. He explains that we experience reality in terms of ‘fitness payoff’ and that this evolutionary pressure has shaped the way we perceive things in terms of what is the best way for us to survive in the world, not the most accurate description of it. So is a narrative a question of convenience and advantage?

Hoffman’s shift in the way the age old problem of describing reality is approached is another example of how contemporary paradigms are shifting and being replaced at an ever increasing rate. Thanks to an increasing knowledge base ever more accessible, the ability to bring together disparate areas of interest in one place has stimulated holistic approaches to almost every area of study. Crossing disciplines is essential if new insights are sought.

Alfred Gell’s revision of how artworks might function in society, is another example of seeing things differently. His book, Art and Agency singles out precisely the mechanism by which viewers interact with art as though the latter were similar to living beings. Gell sees this in terms of agency, i.e. influencing viewers to behave as though they were engaging with something alive rather than inanimate. An artwork lies within a context, a social environment or art nexus, as van Eck calls it. Van Eck puts it rather well:

[Gell] considers objects of art not in terms of their formal or aesthetic value or appreciation within the culture that produced them. Neither does [he] consider them as signs, visual codes to be deciphered or symbolic communications. Instead, Gell define[s] art objects in performative terms as systems of actions, intended to change the world rather than encode symbolic propositions about it. Art works thus considered are the equivalents of persons, more particularly social agents.

Gell identified one mechanism by which viewers can be influenced as technical virtuosity. This presents something made in a way that is hard to comprehend, functioning as a form of ideal or magic. The key is that this thing  is achieves what viewers try to do in other areas. This technical virtuosity can take many forms and is not confined to the skill of carving or painting.

This view of art as a performative agent is at first sight somewhat at odds with Richard Anderson’s view of skilfully encoding culturally significant meaning in a sensuous affecting medium. The skill element is common to both as is the significant meaning. However, in Anderson, emphasis is placed on encoding meaning, whereas Gell’s hypothesis sees agency as the main function for the art work.

Anderson in his anthropological idea is trying to bring together very disparate areas of creativity. In his book Calliope’s Sisters his examples are taken from across very different societies some of which do not recognise the idea of art. Gell’s approach is more art historical. Both Anderson and Gell are trying to identify art and its function in a way that does not fall into Western artistic paradigms of aesthetics and semiotics. Anderson’s hypothesis focuses on the semiotic content of an art object whereas Gell’s focuses on the mechanism by which an art object exerts influence. Gell’s idea is closer to Bayles and Orlando’s proposition that art changes the world in that he states that the agency of the object [or event] consolidates or reforms a world view in a social setting. This is very much the case in sacred contexts but also in the way art is perceived and responded to in secular white cube spaces to mention just one of many possible examples.

Gell borrows from Peircian semiotics and TAG analysis and replaces terms such as object, meaning, interpreter, sign, signifier etc with words that are more readily applicable to the arts.

  • Agency: the power to influence the viewer, this is mediated by the
  • Index: the material object that elicits responses
  • Prototype: the thing the index is representing.
  • Artist: the immediate cause or author of the existence of the index and its properties
  • Recipients: those affected by the work or intended to be by the index.

Semiotics, structuralism and post-structuralism originally resided in the literary and anthropological domains. What this does is to slim down the complexities that arise when analysing work in terms of their function in a humanities context. Focus is placed on the visual arts aspect without losing contact with the humanities.  Most significantly, the term meaning is exchanged with prototype. This reminds me of the Jungian idea of archetypes. But rather than presenting as a Platonic overarching concept, the prototype can be specific to the index in question.

Prototype is an important departure from meaning because it enables the representation of something ineffable. The living presence of the object is enhanced by, in many cases dependent on, its social context. So the art object becomes the explanation of the ineffable rather than ‘the problem to be explained’. 1 Because of the social nexus, in appropriately reinforcing circumstances, the effect becomes proofed against rational explanation. A response mechanism is created that is emotional and volitional rather than rational and cognitive.

These taxonomies are useful when attempting to disentangle relationships and the role of each player in the social nexus in which they are enmeshed. This system of analysis may be a helpful tool in confirming putative or identifying actual causal relationships between the art object its social, anthropological and psychological effects. This form of analysis has been used primarily in art historical context but I can see how I can apply it to tease out aims and objectives from intentions in artistic practice.

I see aims and objectives as analytical descriptions of process. They are the functional and purposeful surface ideas that have to be worked out, arrived at and articulated through cognitive processes. Intentions on the other hand are more deeply rooted. They lie beneath reason, often unrevealed or tacit. To find one’s intention is like holding one’s beating heart. It can be dangerous or bring well being, we often keep intentions well hidden inside the mind; somewhere deep in the brain. Intentions are tinder waiting to be lit. They can give light and warmth or burn everything to ashes.
 

  1. Van Eck,[]

Living Presence Response

 

 
I was watching a video featuring the blue ringed octopus, a poisonous creature that warns would-be predators by the appearance of iridescent blue rings as part of a rapid colour change. Unusually bright colours in animals and plants are often protective warning signs that they are poisonous, a strategy used advantageously by innocuous opportunistic mimics. Equally, bright colours can also attract as part of courtship and mating in many animals as well as a means of plants encouraging the ingestion and subsequent dissemination of their seed. Animals respond to such cues just as we are attracted or repelled by colours, movement, smells and sounds. This raises the question, is there a correlation between the living presence response elicited by artworks and the way we respond to the natural world?

Gell, van Eck and others have looked at the phenomenon of living presence response from an art historical stance but it seems to me that a lot can be learnt from observing our responses to the natural world. Van Eck in Particular talks about the role of the sublime. The sublime as a topos has been written about copiously since the enlightenment, however, this is as much an area for behavioural and evolutionary psychologists as it is for those interested in art history and theory.  Responses of awe, terror, pleasure and overwhelming presence have been used by artists ever since people have been making things. Authors and facilitators have employed notions of scale, beauty and technical virtuosity to great effect. These are amongst a number of properties found in nature and religion. What could be more sublime than an idyllic landscape or an all encompassing deity whose beauty is such that it cannot be imagined let alone looked upon, maker of all the world?

Authors and enablers of art have often been motivated by the desire to possess at least a small piece of the cause for awe, sublimity, beauty and power through the facilitating and making of great works. And we raise such things to mythical heights, from the Sistine Chapel to the Pyramids. It is this close relationship between our emotional response to natural things and art objects that interests me: the reason we look upon certain art as though it were alive despite knowing it to be inanimate. We speak of such works as speaking to us, living, and we respond to them with emotions and thoughts that are close to those with which we react to animals, plants and indeed other human beings. We treasure them, often above other humans, and we make pilgrimages to see them in the hope of experiencing their purported transformative properties. Centres of power have long recognised this as self evident.

Religious icons, large painting cycles, marble statues, tribal carvings and video installations vary in the way they create responses but all hold in common the desire for us to engage with them beyond cognitive interactions. The aim in such cases. to engender a gut reaction, a psychological jolt that brings us into an emotional-volitional nexus with it. This entanglement is most often set in a social context. The art object gives rise to a dialectic and perhaps consensus of its meaning and function. There is a toing and froing between the art object and the viewers of response, inference and rule making. In this way, the art work’s agency could be seen as not only being defined by social conventions and interactions but its characteristics which are then assimilated into the social nexus and become part of the way in which it is viewed.

How this agency is created is largely the role of the artist. The artist’s charge is to imbue the work with sufficient information for the work to act with agency in its respective social setting. However, this of itself is not enough. The social setting must be receptive either by prior knowledge of the domain in which the art object functions or be informed of the aims or function of the art object so that the viewers can be guided in their response by a set of rules of reaction.

The skill of the artist is to enable this nexus of meaning and function. The artist can employ many strategies and tactics to do so, but for the work to elicit the living presence response, he or she much be aware of the context and receptivity of its audience.

NB: the terms I have used so far could be replaced with Gell’s. This would make the writing and reading of the text much simpler as in my previous post, namely: artist, index, prototype, recipient, agency.

I have not mentioned examples as this sort of post is more of a place holder for a fuller text. 
 

Skype Chat 4.5: Andy Lomas

 

On Tuesday we had a visit from Andy Lomas, a former mathematician turned creative computer artist. His work stems from an interest in dynamic systems simulating biological growth. An interest stemming from his encounter with the work of Darcy Thompson, particularly his pioneering book Growth and Form, became after a period in the film and television industry, curiosity in what can be done that could not be done before. Lomas works on the edge of control and predictability wanting to be surprised rather than being in control of algorithms whose outcomes are directed by the exigencies of the film industry.

He sees himself more as influencing than controlling events when setting up his algorithmic simplified systems, which while not trying to replicate nature, bear strong correspondences with biological rules of growth.

 

http://youtu.be/kvWPIf1iS2I

 

The systems he works with are bounded in themselves and do not relate to an outside environment. The parameters or rules of engagement between cell entities are contained within and between the cells rather than communicating with an exterior world even though some simulation, such as how much light falls on a cell try to emulate real life conditions.

Something that struck me during the talk was how the artistic domain gives him the freedom to experiment and play with mathematical models and their aesthetic outcomes. However, it does seem to stay within that sphere, the personal perspective. His relationship with the work is more that of a craftsman than an artist. He is curious about his methodology, he extends the limits of what he is doing, he controls the material with mastery. However, the work itself says little about the person than made it other than their obvious skill. Little of him comes across in the work as algorithms do not in and of themselves depend on any particular person or thing that either generates them or uses them. They are autonomous abstract entities depending only on being implemented in some way to have any meaning. Taking Margaret Boden’s idea of creativity, the results are certainly creative, as for artistic, perhaps that is in the gift of the viewer.

What does this tell me about the work and the worker. The work can certainly be viewed as art, but is Lomas working as an artist or a craftsman? All depends on his intentions and when asked what these were, we were left wondering if he himself knew. He enjoys making the animations and work arising out of them, and he does appreciate their aesthetic appeal, but I for one would want to look more into the content itself of the work. What does it say about me, the world, society and how does it function in different contexts?

All these questions were left mute by virtue of Lomas’ immersion in the process itself, often by necessity. I feel that it is not enough for something to be art simply because it is creative. And if context is everything, perhaps what happens is that the work is taken up as art by others, leaving its maker behind so to speak, personally, as a creative rather than artist.

If all this seems rather harsh, I am only applying the same criteria I have applied to myself. As someone who studied sciences, I have often been frustrated, no infuriated, by how artists all to easily append the label, art science to what they do, appropriating the domain of science without really understanding what they are dealing with. That is why I made the decision not to do scientific art, i.e. appropriate techniques and methods, illustrate ideas, pretend to be doing science that in some way turns into art. All an artist can do is draw inspiration, be influenced by, illustrate yes, the scientific. Likewise, a scientist cannot be an artist simply because they make something aesthetic or useful to artists or illustrates some artistic trope. A scientist can be influenced by, borrow from, be contextualised by art, but that in itself is not enough.

For a scientist to be an artist, they must think as one with every fibre of their body and likewise if an artist wishes to be a scientist they need to fully understand the paradigms that govern the scientific mind. The two domains work so differently that one has to give way to the other. You can be a poet and a scientist, a scientist and a painter, but you cannot be both at once. Science relies on being replicable and independent of personal input, art conversely is deeply personal in terms of the ideas and relies on an element of uniqueness, aura. Artists that attempt to remove any trace of the personal and make an idea or method doable by anyone, still function under artistic paradigms and do not fall within the scientific. Likewise, an electron photomicrograph of a pollen grain, however beautiful, cannot be a work of art unless it is transformed to say something other than what it is. In neither scenario is there a transformation from one paradigm to the other. They both enter the sphere of the other but cannot be the other. It is a nuanced view that can be argued with, but nevertheless, is serves to illustrate the point that science and art are separate, yet have an entangled relationship.

This places Lomas’ work in somewhat of a no man’s land, albeit a comfortable one. The renderings of the algorithms can be seen as art just as Blosfeldt’s photographs are considered artistic photographs. However, in the case of Blosfeldt, the images were made for a very practical purpose, as source material for art students. The fact that they have entered into the artistic canon does not necessarily make Karl Blosfeldt an artist at the moment of making them but more of an artisan. The art resides in the way the photographs have been received and experienced. Similarly, Lomas’ renditions are a search for the limits of what certain algorithms can do and how resolved the animations can become. They are visual illustrations of mathematical curiosity, how they are perceived is another journey towards an artistic conversation which does not necessitate knowledge of their maker. This in some way is what he said adding that he would be only too happy to explicate their genesis to those interested.

Perhaps one day Lomas will consider the wider poetic implications of what he has done and engage new poetic criteria which will undoubtedly alter his process and conceptual horizons.
 

Andrew Lord: A Case of Phusis

 

 

I mentioned in a recent post that I am now ready to look into a contemporary context for my work. This is not altogether easy as what I do is not centred on one idea or medium alone. I know that many artists today are cross disciplinary and work in various mediums; this makes contextual correspondences all the harder to find. I have to be careful not to mention every one and sundry that I like or identify with in some way. This sort of openness would only confuse and lead to a lack of direction. What would making a long list do, help in the project development, show my wide taste in things?

No, what I am looking for is work that directly contextualises mine in terms of contemporary ideas and environments. Andrew Lord, ten years my senior is one such practitioner. Although he would not like to be called a potter, his body of work very much centres on the idea of vessels and clay, something I also work with.

Lord’s central notion is an interesting one. It is an idea that many working in clay have followed for some time, that of ‘rescuing’ pottery from still life painting. As Mark del Vecchio lucidly points out in his book, Postmodern Ceramics:

From Pablo Picasso to Giorgio Morandi, Vincent Van Gogh, and George Braque, pottery has tended to be the visual anchor of most still-life compositions. Contemporary ceramists have begun to reverse the compliment and draw inspiration from the paintings in which these pots appear, returning them to the three-dimensional realm, but retaining some painterly associations. 

Looking for what is common between two and three dimensions is a process which also requires an awareness of what is lost in translation. Only in this way can an essence of the object be made manifest. 

 

Andrew Lord displays his work in such a way as to allude to the still life genre by placing objects on tables and plinths, carefully arranged in terms of light, time of day, space and so on. The arrangements often remind me of Morandi’s still lifes, treated as emerging from the material becoming objects felt in the making. He leaves overt traces of how the object is formed often to the point of caricatured.

 

This work is consonant with elements of some of my work, playful and ‘rough modelled’ caressed into being aimed at a sense of Platonic idealism imperfectly fashion in and on (E)arth. 

It also interest for me to note that in some cases, vases are displayed just off the floor in a similar way to how I plan to show  H’s Play Things in the final show… with one twist. 


 

Much of this approach is consonant with what Heidegger says in his essay, The Origin of the Work of Art:

  1. The material (clay) is central and clearly evident in the work. 
  2. The clay is subservient to what is being portrayed yet it ‘shines forth’ 1.
  3. There is a struggle between the nature of the material and what it tries to portray, what it is formed into or as Heidegger would say, between the Earth and the World.
  4. The vessels are not the product of craft yet he uses, techne or mode of knowing, to bring out hidden Aletheia, or being.
  5. The being of the thing is not just made, it is brought forth and made evident. It is generated from within through phusis as though through natural law.

But what is the role of craft in this act of phusis? Heidegger does become confusing, or more likely confused unable to articulate a distinction between craft and art: he descends into subjective ideas of the mystical and the sublime and sacred to support his thesis. Perhaps a simple, if still elusive reply is that the impetus for a work of art comes from within an internal process of natural growth, whereas craft’s impetus is external to its growth. It is clear to me that this categorisation is false in many cases and can only be considered from piece to piece and not generically.

Having said all this, Heidegger does provide a useful way of thinking about art as a spontaneous act of emergence in the making also raising interesting questions regarding the relationship between what is ‘being creative’ and artistic practice. 

  1. Heidegger[]

Mea Culpa Leads to a Unification

 

 

This piece was the one that exploded in the kiln and caused the damage. I am now reaching the end of its reconstruction and there are two more well on their way. This small project is running parallel to the main project proposal. It is a reconnection with clay and the organic. However, it is not a caprice, as I reflect on what I am doing, pertinent ideas come to mind: composites, contingency, deep past and cultural transitions, modular thinking, dialysis and synthesis, destruction and construction. The list is endless and endlessly layered. What might be the locus of the Research Paper begins to come into view.

What is emerging is a synthesis of ideas that have so far only existed as a coherent ensemble by virtue of my imaginings and feelings that they are in some way connected. I also begin to see how they relate to present day concerns in articulable form.

Patterns exist at all levels and scales of existence, repeating cyclically, each iteration different but nonetheless containing within itself a core that binds them together. Contingent events can cause large ruptures in systems, nothing is certain or inevitable but seen with hindsight, they appear inevitable and progressive, even predestined. This latter fallacy is a function of how we think, as though things have an aim or purpose. Algorithms are dispassionate and impartial. Disparate life processes, their repeating patterns throughout the planet’s history and from early civilisations to today’s society all bear the imprint of algorithms that might provide one with a glimpse of the future. But this vision cannot be discerned in detail but rather a direction of travel, subject to contingent events, the unpredictable.

What I am sensing is the repetition of patterns within patterns, fractals of fractals; that the history of life, human culture, and the future, are iterations subject to principles that become evident in different ways according to circumstance. The word I have identified as emblematic of what I might explore in the R.S. is metamorphosis. But this does not tell the whole story. Things come together to form more complex, sometimes simpler more efficient systems. Whether they be societies, organisms or ideas. All these things are subject to common laws, the same principles that defy entropy and sometimes succumb to it. Another word close to metamorphosis is emergence, the result of a traversal, a change in kind as from simple chemical reactions to ‘self interested’ replicating molecules or at a higher level of complexity, from sentience to consciousness.

The whole is not made of separate things but we perceive it as such by our own modularity in thinking which in turn could be postulated to be reflection of how consciousness emerged from simpler, chaotic but ordered, causal processes. Time is the function of such changes. We measure time by the rate of change in things whether while looking at a second hand moving across a clock face or our own faces in the mirror as we age. However, time is a flexible construct. It is not uniform or fixed in the physical world; the mind is inconsistent in how it perceives time. The notion of time of itself is meaningless.

But what on earth am I talking about? Whether I am talking about societies, organisms, consciousness or an artwork, the way these things are built is piece by piece, each component interacting with other components in reciprocal feedback relationships. Components group to form units at a higher level of organisation. Levels ‘talk’ across boundaries of complexity and with the outside world. It is a wondrous web of regulated processes of ‘communication’, regulated if that term can be used, by blind, impartial algorithms. Daniel Dennett talks about the nature of algorithms at length in his book, Darwin’s Dangerous Idea. By their very nature, algorithms are independent of substrate which means they can apply to different systems whether chemical, physical, biological, ecological, linguistic or cultural.

I am seeing how what happened during the Cambrian explosion as an analogue to the rise of complex urban societies: new ecologies, innovative strategies all based on modularity. The modularity of body plans and their genetic control and modularity of thinking fostered by the coming together of disparate modes of living encoded in art, religion and writing respectively. And if one looks close enough one might see a common thread made evident in the evolution or building of new blueprints whether they be organic or behavioural. And the drive for these changes may differ, whether it is an increase in oxygen levels in the atmosphere hundreds of millions of years ago, the increase in meat eating (and therefore scarce fat) helping an increase in brain activity many tens of thousands of years ago or more recently the retreat of glaciers a mere twelve thousand years ago. Changes in the environment give rise to changes in life: a thought well worth pondering on with respect to human induced climate change in the Anthropocene.

Can equivalences be made between world events? Can we infer sufficiently accurately to postulate what might happen in the future given certain conditions? And what of contingent events, is human unpredictability that difficult to allow for or are there only a few variables on a large scale? The scale at which something is looked at can alter conclusions. It is hard to predict the behaviour of one single item in the midst of the countless, but the whole will follow a pattern much easier to understand. What is the link between the two, between the individual and the collective? 

Our ability to alter the planet surface gives us power over our future but can we learn from the past to avoid the inevitable or are we condemned to repeat a pattern which, while different in broad details, is the same at a higher level? This may be where the digital revolution might have a decisive role for the better or the worst. If we want a degree of stability, we cannot leave the future to the contingencies of human behaviour. But is human behaviour contingent or predictable? It seems more and more the case that it is the latter but does this reconcile with individual freedom, if such a thing actually exists? To what extent are we free to decide as individuals and more importantly as collectives? Is it enough to say that the collective is made up of countless individuals or is some new paradigm needed? How dangerous could this be? Social engineering is not a new thing.

 

Action Research and Reflection: Jonathan Kearney Lecture

Note to self – watch the video again, before reading once more what I have written. This is not a regurgitant of content, it is a spontaneous assimilation awaiting future reflection. So watch the video from time to time even if I think I already know what it says.     www.bitly.com/MA-youtube2018-19

This lecture is an excellent exposition on methodology and how not to suffocate with dogma, prejudice, lack of direction, inappropriate and imposed expectations: to be all you can be as an individual amongst individuals. But to have it so clearly and concisely laid out belies the time and thought that has gone into such a simple explication. It brings together complex aspects of creative thinking without even touching the medium used or the work itself. This deft handling of practice methodology leaves matters open and flexible. It is not a prescriptive way or approach but a practical philosophy based on experience, knowledge and research. I feel very at home with the ideas and to have them put across in such a clear and simple way helps me identify where and how I can improve on my thinking or better said, how I can avoid wrong thinking.

But avoiding wrong thinking is not the same as avoiding mistakes. Mistakes are part of the learning process and the finessing of a craft. It is necessary to make a mistake to know what not to do. This may appear counterintuitive but to aim for the ‘right’ or correct thing, to have a set paradigm, often leads to wrong thinking. Wrong thinking starts out as knowing exactly where it is going and as it starts to loose its way, asserts its stance with greater force, but it is only heading towards a mirage. This is a cycle in which learning is reduced and can only lead to frustration. Mastery is the removing of veils, it is a reduction to the core of something. It is not about making it right but avoiding mistakes once made: knowing what not to do. 

I have often wondered what action research is. It is the everyday process that an artist engages in. It is to focus from within what is being done regardless of the esternal world. Perhaps this is what is meant by the much abused term, art for art’s sake. It is a cyclical process that never ends, where learning never ends, and that is exciting. 

Reflecting on reflection: at the start of these two years, three weeks ago, I stated in my first Project Proposal draft, that I was looking for the connective tissue in my practice. What is starting to appear is a picture where writing links the various means and outcomes I am involved in. This journal is beginning to create a framework. I have so many things to write about in relation to my practice, ideas, experiences. I am excited to see how the framework emerges, a body constructed with the elements of my practice acting as organs, limbs and manifestations of the whole. After all, what Jonathan talks about in the lecture is about knitting together a holistic dynamic process of integration, accretion, assimilation, and making it your own. Where this might lead is an open question that will only be resolved later along the course of these two years; even then the process does not end but starts, again. It is not something that cannot be hurried, only intensified. 

Jonathan also talks about the idea of reflection on and in-action. To reflect in-action is so much easier if you are already practiced at what you are reflecting on. When learning something new, I aim to understand, then do and finally, usually after a pause during which assimilation takes place, I can fully immerse myself in the activity so that I can step outside the doing while being in the action and reflect as it is done. This process is one of detachment and integration at one and the same time. I become one with what I do and also aim to be able to explain what is being done. That is why simplicity is essential. If the matter in hand is made complicated or appears complicated (makes no difference), reflection in-action becomes thwarted. This is why practice is so important. Practice makes something ‘automatic’. However, there is something about practice that is little understood. Practice does not of itself make perfect. Practice makes permanent. That is the reason why it is more important to know and focus on what not to do rather than on striving towards a paradigm.

[I have to say that since I started this journal, writing has become easier and each piece of writing takes less labour. But I still have to focus equally; it is just that it comes more easily and takes less time.]

Jonathan’s list of what to keep a record of in the blog journal is worth revisiting regularly:

  • actions
  • decisions
  • thought processes
  • successes and failures
  • issues you are dealing with 

The lecture also covers the difference between art and science research. Science is what I started with. I loved the themes and ideas but to have done research was not for me. Science is a victim of its own success. It is constrained by the scientific method. This can be summarised as the need for repeatability, falsification and personal detachment. It is the antithesis of artistic practice which emphasises individuality, uniqueness (which is very different to originality) and verification. Scientific ideas are universal, open to appropriation and waiting to be shown as false. Art is personal and subjective, it is also universal.

I am a metaphorical being seeing the world and explaining it in terms of labels: that is how language works. Language is the basis for reasoned thought. Whereas science looks to tropes as ways of explaining and understanding but always with caveats, art embraces metaphor and other tropes as means of opening out to nuance and subjective communication and of asking questions. I wanted to be nuanced and have the possibility of portraying ambivalence and ambiguity in my work, speculate and imagine. That is why I did not continue with science. I still attempt to be logical but not as a reductive, deductive mechanism for inference. The logic of what I do is often hidden in the weave and texture of the work and reflection is part of teasing it out and making it more apparent to myself, to start with. This is a principle aim of my MA research. It is a matter of constructing a valid argument but not necessarily a sound one. The reason for a sound argument not being desirable or even possible lies in the very way art practice evolves. By every definition that contains humanity at its core, art is subjective. A non-false premise, for that is what a sound logical argument must have, need be objective. Therein lies the point of potential conflict in any artistic discussion. Validity and soundness of argument are two very different things. To believe in the soundness of an artistic argument is a false notion and requires as back up falling into dogma and faith, something that an artist might well have difficulty in contending with if they are to maintain openness and follow a holistic approach. 

An interesting proposal nearing the end of the lecture was that science leads to no change in the world whereas art does. This opens up a whole new and long discussion but I would like to finish off by reminding myself that science is not technology. Science is about finding explanations for how the world is. Technology applies these but it also applies social, economic and other non-science based ideas. Technos comes from the word techne which although closely related to the meaning of episteme (knowledge and understanding), it emphasises active application of knowledge. Whereas science is about understanding, technology is about applying understanding. Both techne and ars refer more to human activity than disembodied knowledge. Note that this disembodiment of knowledge becomes a universal idea that can be appropriated by anyone whereas technology and art very much bear the stamp of authorship. This is embodied in the concept of copyright, you can copyright a means of doing something and an artwork but you cannot copyright an idea.

Art and the Machine: Thought 1

What is the relationship between your artwork’s internal cause or impetus and its external input or stimuli?  I would ask this of a thinking machine were such a thing possible. The question comes with the implicit premise that during its making, the artwork and artist or in this case machine, are necessarily bound together in process regardless of what happens subsequently. As Aristotle first noted, the internal cause of an artwork cannot be considered to arise from within and of itself. In short it cannot begin to create itself. Unlike a plant seed, it does not contain within it all that is necessary to independently set its growth and development in motion. Art requires an external input. I do not consider the role of the artist as simply that of a vehicle for some sort of transitive phenomenon as it is sometimes suggested. The artist has agency and is integral to the process by which the artwork comes about. Without a maker art cannot be. Although art, as Dewey suggests, is the result of experience and dependent on context, the actual coming about of the thing itself is very much dependent on someone conceiving and giving it birth. This is not a trivial matter when it comes to considering the role of machines. Now that it is possible to envisage a machine doing something we might interpret at least superficially as art I would ask it, where does your art come from, where is its source?

All things gather meaning in our eyes. For art to have a transmissible meaning that transcends ordinary explications, its maker must be authentic. By this I mean, that the process by which an artist does something has to come from deep inside them and in unison with the process of making. There is an element of origination from within. Without this immanent synchronicity between artist and process and medium, the artwork cannot encompass a multiplicity of meanings while retaining its own, could I venture to say identity? If what Dewey said is taken to be the case, then the meaning will always change with changing circumstances. However, if the artwork can retain a core of meaning from its inception, it then retains the potential to engender something that goes beyond a mere intellectual construct. Words can be used to weave such mind games around any object or event to make it look like art. But art has a special significance and to retain this, it has to possess a traceability with its origin and the origins of that which gave rise to it. Why is this important or even relevant, does art not reside in the explanation rather than the thing that acts as its emblem? I believe that the way we look at art and its making impacts on how we see ourselves in a world where machines do wonderful things, and often better than us.

Say I am presented with an everyday manufactured object as a work of art and nothing else. The reception of such a thing would be totally open to interpretation. In such a case, it is I the receiver and those around me that would make the art. The intention of the artist would be somewhat irrelevant: much as a statistician would say, correlation is not causation, any coincidence of meaning between the artist and myself a matter of just that, coincidence, unverifiable since the artist’s true intention must remain undisclosed. Having no contact with the maker, I would construct its meaning, metaphorically and or literally from my personal experience and collective knowledge. I would research contemporary and subsequent texts if they exist. I would listen and evaluate hearsay and legend. I could even personalise it by weaving a narrative with me or my society as protagonist to make it more relevant. My question again, where lies the source of the artwork, does it lie within me and my response? I have no way of tracing its origin, any immanence or synchronicity at the point of its coming into being, must remain silent and the art must lie in my explication, or that of another.

This explanation of an artwork may be philosophically valid and perhaps even be sound, but I feel that it does not go to the heart of what an artwork could be or perhaps even should be in the age of the machine. If a work remains open to interpretation but in and of itself holds a core meaning of its own throughout that interpretation, one that has been generated during its formation, then the piece becomes significant in a different way. It conveys something which can be traced back to a point of origin notwithstanding its transformations by circumstance. The receiver can interpret it in the way that is most significant to them at the time, but the thread of meaning contained within the work cannot be detached from it. It is a form of empathic connection which goes beyond circumstance, it speaks of a common humanity. Yes, the object such as a spark plug or paper cup is also a human product and speaks of humanity and has meaning. So where am I in this train of thought?

Perhaps the difference is one of specificity. You could say a thousand things about the spark plug or maybe a urinal. That is the art of the poet. The poet takes the general and makes it personal, or makes a local specific, common to all. That is their gift. Whichever way round it is, whether looking down a microscope or a telescope, it is about intimate thoughts expressed in words. But a visual artist, to present something which could be described in terms that are applicable to anything else, would represent a loss of intimacy. Is that significant? Perhaps it is better that nothing is said if the same could be said about practically anything else. To do otherwise, the matter would become banal and superficial. In short, there has to be a specificity to meaning and a correspondent to that meaning, for a particular artwork to be meaningful in more than just a cursory way. But that specificity also needs to be flexible and adaptable to different circumstances. Context does give meaning, but context also changes. Is an artwork to be floating forever in the churning maelstrom of circumstance?

Why does this matter? It matters because in an age where machines can be used to make wonderful things, it is of paramount importance that the human element or the human origination to be more precise, remains the core of an artwork. And for this to be the case, the inception and process of making an artwork have to be immanent with it, not simply reside in its explication. It must draw the artist and receiver into an intimacy that could be recognised by others. If this is so, it can become timeless and say something common to all at a distance from its making.

Art made by a machine would have a hard time to create a true intimacy that is endogenous to it. Where would the source for its intimacy reside? Algorithms can process unimaginable amounts of data to produce a simulacrum of human intimacy, and there lies the danger. Are we to be duped by machines, then what? Sentimentality takes over as we fall in love with homunculi and virtual damsels, pine for virtual grannies and call out for the affections of a synthetic dog?

The machine cannot think as we do. We think not only with what we know but also with what we do not know. Uncertainty is what we humans live in and our whole culture, beliefs, history and future, emotions and feelings are centred around that sense of not knowing. It is a major drive behind our responses to the world. We may understand the initiating programmes that start self-learning but once that process begins is there any traceability of its thoughts? Can a machine have the same sense, feeling of uncertainty that we have? Cold logic cannot have a sense of uncertainty and once the initial algorithms are left behind, lost in countless levels of self-learning and unimaginable traversals, can we know where its source lies? Can we have a sense of the machine’s true source? Such a scenario may not be for the immediate future, but it raises questions regarding our humanity that art can only intimate.

Machines having developed their own language alien and impossible to understand, all traceability to the origins of their thoughts and feelings, if that is what they are, would be lost. The result might be, art done by machines for machines. This would be truly meaningless to us. The idea would certainly raise curiosity but it would also be at best entertainment, alien watching, a circus where the public are invited into the cage with the lions. To experiment on how machines might create art might well be valuable research into artificial intelligence. However, art is made by people for people and if machines are to be used in its making, let it be as a tool and not as a prime source generator. A world in which “art” is generated by machines might well lead to one devoid of humanity. Will it happen, does it matter? Time will tell, but I say, leaving what it is to be human to machines is indeed a dangerous path to tread.